Argento u februaru treba da počne snimanje svog novog filma - i to u Torinu, "gradu trilera".
Film će se, kao što je već najavljeno, zvati Giallo, što se čini izuzetno prikladno imajući u vidu dosadašnji maestrov opus.
Asia, Ray Liotta i Vincent Gallo su potvrđeni kao glavni akteri, a Argento trenutno traži mladu Azijatkinju kojoj će biti poverena pivotalna uloga.
U novom Argentovom filmu lepe zane nestaju, a kasnije bivaju pronadjene mrtve i unakazene. Usamljeni istrazitelj se, po svemu sudeci, primakao ubici... Kljucni trag mu omogucava traumatizovana Japanka koja je uspela da se spase. Ona stalno ponavlja samo jednu jedinu rec:"Giallo!".
Dark Dreams javlja: Italo horror-meister Dario Argento will shoot "Giallo," an English-language homage to the genre that made him a cult helmer, with Vincent Gallo, and Argento's daughter Asia Argento attached to star. Ray Liotta is also in advanced negotiations to join the "Giallo" cast.
Argento's latest thriller will revolve around serial slashings of some very attractive women being investigated by a solitary cop, which Liotta is likely to play, who engages in a cat-and-mouse game with the phsychopathic perpetrator, to be played by Gallo.
Los Angeles-based Arramis Films is co-producing with Argento's own Rome-based Opera Film shingle. "Giallo" producer is Arramis topper Rafael Primorac while Opera's Claudio Argento is the pic's co-producer. International sales are being handled by Los Angeles-based Hannibal Pictures, headed by Richard Rionda Del Castro, which will kick off "Giallo" presales at the upcoming EFM mart in Berlin. The screenplay is by yank scribes Jim Agnew and Sean Keller.
Shooting on "Giallo" is set to start in February in Turin, the Northern Italian city where Argento shot his most recent slasher, "The Mother of Tears," also starring Asia Argento. The Turin Piedmont Film Commission is providing production incentives.
True to its title, which means "yellow" in Italian and is the Italo term for pulpy thrillers, "Giallo" will aim to serve up the slasher thrills of Argento's cult classics of the 70's such as "The Bird with the Crystal Plumage," "Suspiria," and "Deep Red," a stage musical version of which is currently starting its tour in Italy.
:!:
već vidim promo najave:
GALLO IN GIALLO!
i
ITALO-ASIA! :!:
but seriously, dekica je evidento zabrazdio u dekadenciju auto-recikliranja i sirotinjskih omaža samom sebi (nekadašnjem, iz dana kada je pravio velike filmove) - i jedino još kunac može mrtav ozbiljan da argenta naziva 'maestrom'...
mislim, jebote, film se zove GIALLO! :roll: :x :cry:
šta je sledeće?
hooper koji snima film pod nazivom CHAINSAW?
carpenter presents SLASHER?
landis directs A FUNNY HORROR?
cunningham se vraća sa filmom TEENS IN PERIL?
:roll:
Quote from: "Kastor":!:
Da, deluje potentnije od koncepta
Treće majke, ali niko ne garantuje da nećemo dobiti
Kartaša 2. Ipak, i ja se radujem. Čak i kada nije u punom zamahu, Argeno ima šta da ponudi.
Ne mari, ja sam dovoljno uživao i u Trećoj mami, sve njegove uratke od Opere na ovamo (20 godina), izuzimajući Stendala ne posmatram preozbiljno i nema šansi da me mnogo razočara...Ionako godišnje pogledam bar dvadeset filmova koje ne bih puštao ni najgorem neprijatelju - Arđento koji sedi u stolici i puši dva sata pred kamerama bio bi melem naspram toga.
Quote from: "Kastor"Arđento koji sedi u stolici i puši dva sata pred kamerama bio bi melem naspram toga.
on ne samo što ne puši nego je insistirao da novinari prestanu s tom ogavnom praxom u domu omladine, kad je onomad bio u bg, inače nije teo da uđe pošto mu dim smeta. mislim da ima neki oblik astme.
Znam, sećam se tvog izveštaja, Pušenje sam ubacio kao plot. :!:
Quote from: "Kastor"Arđento koji sedi u stolici i puše mu dva sata pred kamerama bio bi melem naspram toga.
Pošto trenutno nema Harvestera, evo ja ću umesto njega da ispravim Kastora u skladu sa onim što je zaista hteo da napiše.
:lol:
E to bi već bila uživancija...
:lol:
Bila je neka novinarka u DO, garažirana plavuša od 40+ godina, stalno je pratila Argenta. I otišli su negde zajedno posle konferencije. Možda...
Alan Jones writes:
"Hi Nick, Dario's new project might well be the English language thriller GIALLO written by Sean Keller and Jim Agnew. (The same writers have also just written John Carpenter's latest LA GOTHIC). But while nothing has been set in stone regarding start date and other finer details, here's what it's about.
You might at first think the title simply refers to the type of stylized Italian crime thriller Dario popularized with THE BIRD WITH THE CRYSTAL PLUMAGE. Indeed, the story revolves around his favourite themes of gorgeous victims, excessive bloodletting and deviant killers. However, here the maniac responsible for a string of mutilation murders in Milan (but he'll film in Turin again), is actually yellow, the literal English translation of the Italian world. Thanks to hereditary liver disease Hepatitis C, the psycho's skin is a vivid sallow colour. His equally jaundiced view of the world compels him to first make the pretty women he picks up in his (yellow) taxi cab ugly before killing them.
Favoured methods include cutting off their eyelids and lips. The four main characters are air hostess Linda Clark (Asia's role) whose catwalk model sister Celine has gone missing, Detective Enzo Lavia (Ray Liotta) who is driven to tracking down the pattern killer due to past demons, and the madman, referred to as Yellow (Vincent Gallo – note that's Giallo with the 'i' missing in what is bound to feature in the marketing campaign). Key scenes echo Dario's famous work – e.g. a glass roof Mall sequence - there's a puzzling logo clue and there are a couple of neat twists along the way to keep a surprise element to the unusual finale. I can't be more precise about the plot, deliberately styled after Dario's early thrillers, although I do feel it has CAT O NINE TAILS meets OPERA potential. More details soon."
OT: Ovo sam našao na jednom forumu, sasvim slučajno. Bilo mi je mnogo simpatično...
QuoteNego hteo sam da pitam, gledao sam veliki broj horora, ali nikako ne mogu da se setim imena, po meni, najboljeg horora svih vremena, gledao sam ga vise puta i uvek se najezim kad ga pogledam, poslednji put sam ga gledao pre otprilike mesec dana, ali sam u opet zaboravio ime, na vrh mi je jezika, ali ne znam. Pa ako bi neko mogao da mi pomogne? To je film o nekom kepecu, koji kolje prvo ceo voz, zatim redom sve dok se nije ispostavilo da to nije kepec, vec neko ko ga imitira. Kepec je bio seriski ubica, ali je ubijen, ubila ga je njegova keva, a ovo je bio njegov sledbenik, kojeg je kao dete kepe ucio da ubija. Na kraju u nekoj crkvi ga cini mi se ubija neki mladi detektiv, zna li neko ime ovog legendarnog horora?????????
jeli to mozda jedan italijanski film?
Bas tako, setio sam ga se, zove se Non ho sonno(Spirala straha). Stvarno najzesci horor. Od nijednog drugog horrora se nisam toliko preplasio kao od ovog. U ovom hororu, nema Vampira, vukodlaka, duhova, vanzemaljaca, Frankenstajna, Drakula, ali u toliko je bolje(mislim gore), jer deluje kao stvarno. Jedina stvar koja mi se nije dopala, jer nije realna(mada sam se od te scene najvise uplasio u zivotu), je kada ona devojka ostavila ubicu u sobi i pobegla u voz, a on je posle 100 kilometara zove, da je pita gde je. I iako voz ne staje uopste ni na jednoj stanici, on se pojavljuje i ubija tu devojku i cini mi se sve u vozu. Malo nerealno, ali sve u svemu bas zesce strasan horror.
:!:
qpuke
Cripp me je zamolio da prosledim sledeću vest na ZS, so here it goes!
TWC to take US, Latin America on next Dario Argento horror movie - Sheri Jennings in Rome - 29 Jan 2008 19:28
The Weinstein Company (TWC) is in final negotiations to take US and Latin American rights to Dario Argento's forthcoming Giallo which is scheduled to start shooting on March 3.
LA-based Hannibal Pictures is handling world sales and also financing the $7-8m picture, which has been described as a return to the genre that the cult horror director pioneered in the 1970s.
TWC previously bought rights to Argento's last film, The Mother Of Tears, which was the third installment of a witch's trilogy that began with cult horror classics Suspiria and Inferno.
Hannibal CEO Richard Rionda Del Castro also confirmed sales to Media Films for Spain and Portugal, Spentzos for Greece, Monolith for Poland and Eagle Films for the Middle East. Del Castro said he expects to also tie up deal with Italy, France, Scandinavia, Germany and Japan early next week.
The picture stars Vincent Gallo in the lead role of a serial killer, with Ray Liotta playing the detective who has long been tracking him.
The plot revolves around the snatching of a fashion model (Elsa Pataky) just as her flight attendant sister (Asia Argento) jets to Milan to meet her on a shoot.
The cast will be rounded out with a cameo by an internationally renowned fashion designer, the film's co-producer Rafael Primorac told Screendaily. Primorac's LA-based Arramis Films is producing with Claudio Argento of Rome-based Opera Film.
Screenwriters Jim Agnew and Sean Keller wrote the story inspired in part by Argento's legacy. "It's a very fast story with strong characters. It has great energy and is very creepy," Primorac assures.
The film will shoot for 30 days in the Turin Piedmont district in the North-West of Italy. It will be Argento's seventh film to shoot in the region, the director's favorite location to shoot, Opera Film confirmed.
Posle otkazivanja dva glavna glumca, GIALLO je - ako je verovati obično dobro obavešetnim izvorima sa više različitih foruma - MRTAV PROJEKAT!
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samo potpuni retard je mogao da se raduje ovako derivativnom projektu, i mene iskreno raduje što je- ako je- to PUKLO!
arđento mora da prestane da pravi inferiorne omaže samome sebi, i da iščeprka nešto sveže u svojoj dementnoj podsvesti ako hoće da nas ponovo zaista zainteresuje i obraduje nečim pažnje vrednim!
Preokret...
Po svemu sudeći, GIALLO još nije mrtav... far from it. Elsa Pataky je nagovorila svog dečka, oskarovca Adriena Brodyja, da zaigra pored nje u Argentovom novom fimu - tako da su pare ponovo počele da pristižu. Asia je izgleda odustala od uloge, što otvara mogućnost za povratak V. Galla... Još jedna dobra vest jeste da će muziku za film raditi Simonetti.
Narednih par nedelja će bit kritično, ali šansa za uskrsnuće projekta postoji, tako da: :!: :!: :!: !
budući da je plasirana baš na 1. april, ovu vest treba primiti s oprezom, ali čak i ako ispade hoax, ipak ima mnogo smisla:
Argento Giallo 3D Shock!
SGM can exclusively reveal that not only is Dario Argento's latest shocker GIALLO about to go into production this month but also will be shot entirely in 3D! Yes, as momentum builds with filmmakers such as George Lucas backing the 3D process Argento has brought onboard the very talented Russian 3D cinematographer Olaf Prilo to help present his tribute to the Italian slasher genre in three dimensions. Due to the intricacies to such a project post production for the process may take some time so a proposed release date for special Imax cinema premieres is penciled for April the 1st next year!!
argento je oduvek voleo da experimentiše sa stilom, sa načinima snimanja, s kamerama i sl, pa me ne bi iznenadilo da u ovome IMA zrno istine...
hmmm... javlja mi se da će ovaj olaf stvarno da bude od velike koristi arđentu:
Olaf Prilo's Experience
*
Head Researcher
Mind and Brain Institution for Parapsychology NSW
(Biotechnology industry)
September 2007 — Present (8 months)
*
Consultant
Amnesia
(Privately Held; 51-200 employees; Online Media industry)
April 2006 — April 2007 (1 year 1 month)
We try together to create some new methods for stimulating brain in adverts.
Olaf Prilo's Education
*
Crimean 'S. Georgijevsky' Medical Institute, Simferopol
1973 — 1978
Additional Information
Olaf Prilo's Websites:
* Trust Banners
Olaf Prilo's Interests:
I do not like to waste time on leisure activities. The pursuit of science is all I care about.
Olaf Prilo's Honors:
1963 Ukrainian Spelling Bee championship, second place.
Back in their laboratories, chief field researcher Dr Olaf Prilo who led the collecting expedition made the surprising discovery that the fatty tissues of the adipose fins contained compounds, created during their immersion in saltwater, that were similar to mild hallucinogens. The adipose fins of solely freshwater species did not have the same compounds present in any measurable quantities.
In shocking news that has stunned the city of Seville, a close friend of Sergio Ramos has revealed that the Real Madrid defender can't stand flamenco music - something that will ensure a hostile reception on his next trip down south.
"He hates it, but has to pretend the opposite", admitted Olaf Prilo to a local Andalusian paper. "He's more into My Chemical Romance and anything Emo".
:!:
izgleda, ništa od olafa, ali zato je tu adrijen brodi!
Adrien Brody to star in Dario Argento's next giallo... appropriately called GIALLO!
Dario Argento is doing a film called GIALLO, which Adrien Brody has just signed on to topline.
The flick is about an American flight attendant who joins an Italian detective in search of her missing sister, feared to have been abducted by a serial killer known as Yellow (hence the title, which is Italian for yellow).
Emmanuelle Seigner and Elsa Pataky also join the project, scripted by Jim Agnew and Sean Keller. Brody will also Exec. Produce and the flick will be shopped at Cannes.
pošto brodi zamenjuje vinsenta galoa, mogu da zaključim da scenario zahteva od glumca u toj ulozi da ima OGROMNU NOSURDU!
Adrien Brody to topline 'Giallo'
By Borys Kit
April 10, 2008
UPDATED 9:21 p.m., April 11, 2008
Adrien Brody, Emmanuelle Seigner and Elsa Pataky have signed on to star in "Giallo," the latest thriller from Italian horrormeister Dario Argento.
"Giallo" revolves around an American flight attendant who teams with an Italian investigator to search for her missing sister who has been abducted by a serial killer known only as Yellow.
The term "giallo" means "yellow" in Italian and also refers to the Italian pulp, horror and erotic genre of film and literature. Argento has built his name with movies that combine horror and eroticism such as 1977's "Suspiria" and "The Mother of Tears," which The Weinstein Co./Myriad Pictures will release stateside June 6.
"Giallo" might mark the first time an actor of Brody's caliber has starred in an Argento film.
The film, from a screenplay by Jim Agnew and Sean Keller, will be produced by Rafael Primorac and Richard Rionda Del Castro.
Production is set to start May 12 in Torino, Italy, with postproduction work done in Los Angeles.
Brody is exec producing along with Oscar Generale, Claudio Argento, Luis De Val, David Milner, Billy Dietrich, Patricia Eberle, Donald Barton and John Hicks.
Claudio Argento's Opera Films will handle production services in Italy, with Footprint Investment Fund co-financing.
Hannibal Pictures is handling worldwide sales and will be selling the film next month at the Festival de Cannes.
Brody ("The Darjeeling Limited") is repped by Red Hawk Management.
Seigner ("The Diving Bell and the Butterfly") is repped by Gersh and Untitled Entertainment.
Spanish actress Pataky, repped by ICM and Bianca Dohmen, has appeared in "Mancora" and "Snakes on a Plane."
Quote from: "crippled_avenger""Giallo" might mark the first time an actor of Brody's caliber has starred in an Argento film.
:shock: :? :x :x :x
šta bre - max von sidow (non ho sonno) je kao manji 'kalibar' od brodija?
ok, možda u toj fazi svoje karijere nije bio tolika 'zvezda', niti je oskara dobio samo 3-4 godina pre igranja kod argenta, ali onda to TAKO reci, a ne da je brodi "najveći kalibar" koji je ikad igrao kod arđenta, jer nije.
max von sidov je najveći, najbolji glumac čiji je talenat protraćen u nekom argentovom filmu, a čak i po kalibru NOSA je tu negde sa brodijem (i nesuđenim galom).
:cry:
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Pataky je Brodyjeva verenica, Signer supruga režisera koji ga je proslavio. Sve je povezano.
Snimanje je u toku, sve ide po planu... Još samo da Argento bude u formi.
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Slobodan Pikula o iskustvu sa holivudskim zvezdama
Srpski fotograf u ekipi Lika Besona
Ako vam se nekada desilo da vam bude dovoljno da vidite plakat nekog filma da biste otišli u bioskop da ga odgledate, onda znajte da deo zasluga pripada filmskom fotografu. U Srbiji nema mnogo profesionalnih filmskih fotografa, ali jedan je uspeo da se izdvoji: Slobodan Pikula.
Pikula je pravio fotografije sa setova filmova u kojima su glumile neke od najvećih holivudskih zvezda poput Edrijena Brodija i Rejčel Vajs. Pikula za ,,Blic" govori o iskustvu rada s poznatim rediteljima, glumcima i direktorima fotografije...
,,Mene svi ljudi pitaju: 'Pa šta ti radiš na filmu? Šta radi fotograf?' Fotograf slika koliko je moguće više kadrova, po ceo dan je na setu, a te se fotografije onda koriste za reklame, postere i slično. Ali fotograf često služi i za potrebe filma. Evo, u novom filmu Darija Arđenta na kojem sam radio, serijski ubica slika svoje žrtve, a ja sam zapravo namestio te žrtve i kadar, pa smo to onda ubacivali u njegov kompjuter. Dakle, naš posao je da nekad učestvujemo u proizvodnji samog filma. Čak sam i pozajmio blic tom ubici kad je slikao u filmu", kaže Pikula kroz smeh. Film ,,Giallo" proslavljenog italijanskog reditelja horora Darija Arđenta sedmi je na kojem je Pikula radio (tu su još ,,Caravaggio", ,,Fade to Black", ,,Il cuore nel pozzo", ,,Romance", ,,The Brothers Bloom", ,,I figli strapatti"), a ovih dana trebalo bi da se pridruži ekipi Lika Besona koji će svoj novi film snimati u Beogradu.
,,Počeo sam slučajno pre nekoliko godina kada sam snimao ,,Il cuore nel pozzo" (,,Srce u bunaru") u Crnoj Gori. Italijani su bili zadovoljni i pozvali su me da nastavimo saradnju. Prošle godine sam snimao 'Braću Blum' sa Rejčel Vajs, Markom Rafalom, Edrijenom Brodijem i drugima. Pošto je snimanje trajalo malo duže, imali smo više vremena i za druženje pa sam se bolje upoznao s glumcima. U početku je bilo malo teško, jer si nov, ali, eto, kada sam Edrijenu Brodiju doneo fotografije, on je bio veoma zadovoljan i praktično smo se sprijateljili, pa me je pozvao i na druge njegove filmove." Slobodan Pikula je imao priliku da radi i sa velikim direktorima fotografije poput Vitorija Storara i Tijerija Arbogasta. ,,Moj odnos sa direktorima fotografije je uvek bio korektan. Imao sam sreću da sam radio s jednim od najvećih direktora fotografije ikad, a to je Vitorio Storaro.
Storaro je pre dve godine u Beogradu snimao film 'Caravaggio', dobitnik je tri 'Oskara', direktor je fotografije na filmu 'Apokalipsa danas', 'Poslednji kineski car'... Radio sam i sa Tijerijem Arbogastom, koji ima 'Zlatnu palmu', tri 'Cezara' ('Peti element', 'Profesionalac', 'Nikita'...)". Ne dešava se često da jedan ovdašnji fotograf uspe da se probije u svetu, jer obično biva obrnuto, pa naše filmadžije uzimaju strance da rade taj posao. ,,Izuzetno je teško našim fotografima da počnu da snimaju velike filmove", kaže Slobodan Pikula za ,,Blic". ,,Verujem da kod nas još uvek ima kvalitetnih ljudi, ali moj posao je kod nas totalno potcenjen. Faktički za većinu filmova i nemamo profesionalnog fotografa. Amerikancima je to izuzetno važan deo posla, jer oni na osnovu tih fotki prave prezentaciju filma i prodaju ga. Inače, nikada nisam radio nijedan domaći film."
Savet fotografima
,,Svaki malo iskusniji fotograf bi mogao da slika filmove", kaže Slobodan Pikula. ,,Potrebno je veliko strpljenje, rad s glumcima... Ja sam imao dosta iskustva u novinama kao fotoreporter i ne mogu da kažem da je ovo neka nauka, svako može da pređe na ovo. Ali zašto da pređe kada kod nas nema stranih produkcija, najviše dve-tri godišnje."
,,Ubijene" i odobrene fotke
Pikula objašnjava da glumci imaju pravo da pregledaju fotografije koje filmski fotograf napravi na setu i da odaberu one na kojima se pojavljuju. Kada ih pregledaju, fotografu predaju papir s brojevima slika koje im se dopadaju (,,approved"), kao i onih koje bi radije zaobišli (,,killed").
brodi propevao!
So tell me about your upcoming projects, especially the Dario Argento movie Giallo and executive producing that.
It was exciting, it was an opportunity. I like Dario very much; I'm a fan of his films and I'm friends with Asia, his daughter. She's a great actor. You know, the way that I view work these days is I like to experiment, try different things... My girlfriend was actually offered the role first, and my instinct was, because of the nature of her character, I thought it was very tough for her to go through, and I [thought] she should really give it a lot of consideration and possibly not do it, and part of the reason I signed on as a producer was to protect her. [laughs] And then I joined up, and then the character that I play is a detective that's looking to rescue her, so in a sense my motivation follows in the character, so we thought that was quite an interesting thing.
So it is a giallo?
It's more of an homage to his earlier films, like Deep Red.
I can understand your concern. His roles for women a little ... intense.
Yeah, and it is intense what she has to go through. And, you know, she's tough and game so it's her call, but I wanted to be there. [laughs] Supervise...
Were you ever like, "No!"
No, because it's different when you're on set. First of all, people are very respectful and you know, things often look much harsher than they are. Sometimes they're pretty harsh to go through, but it was remarkably fun [laughs] to make a movie that dark for it to be fun. I think you just get carried away with that kind of enthusiasm that Dario has for those things. It was really a great experience.
For most of my childhood, the films of Dario Argento were nothing more than a collection of stills in Fangoria and books like Phil Hardy's THE ENCYCLOPEDIA OF HORROR MOVIES. Though I was coming of age during the home video revolution of the early 1980s, which horror dominated by dint of omnipresent slasher dross and supernatural EXORCIST rip-offs, Argento's films were tough to track down. Sometimes, this was due to rights issues (as was the case with SUSPIRIA), but, for the most part, there just wasn't a big enough outcry from critics or moviegoers to shame distributors into releasing his seminal '70s work.
This began to change in 1985, when New Line Cinema took a shot at loosing Argento's creepy-crawling PHENOMENA on U.S. theaters. Though the film remains one of the director's most deliriously entertaining efforts, New Line ignominiously hedged their bets by slashing twenty-eight minutes out of Argento's cut and rechristening it CREEPERS; the timid result was loathed by critics and largely ignored by American genre fans (who didn't have the internet to clue them in as to what they were missing). Still, the seed had effectively been planted; the studio could mangle Argento's vision all they wanted, but they couldn't completely blot out the visual/aural genius (though the Goblin score was also a casualty of PHENOMENA's crass Hollywood-ization).
By the time SUSPIRIA hit home video in the early 1990s, U.S. horror geeks were primed to adore the thing - which they did in numbers sufficient enough to hasten the release of DEEP RED, INFERNO, TENEBRE, etc. I harbor a varying degree of affection for all of those movies, but it was Argento's directorial debut, THE BIRD WITH THE CRYSTAL PLUMAGE, that truly blew me away. The cruel precision of the opening art gallery murder was positively mind-blowing (thanks in part to then up-and-coming DP Vittorio Storaro); once I factored in the Ennio Morricone score and the fetishistic use of black gloves (this was also my introduction to giallo conventions), and it was basically the best Brian De Palma movie I'd never seen. That was all the prodding I needed to devour the rest of Argento's filmography.
When I headed out to Santa Monica last week to chat with Argento, it was ostensibly in support of his new-to-DVD MOTHER OF TEARS (the concluding chapter to his loosely-related "Mothers" trilogy which includes SUSPIRIA and INFERNO). But when I learned he was in town editing his latest film, audaciously titled GIALLO (starring Adrien Brody), I felt compelled to press for details on what is purported to be something of a career-capper. It was the end of a long day for Argento (he was eager to order a glass of Pinot Grigio before we got started), but he was more than happy to discuss... anything, really. In fact, I found that what he wanted to talk about didn't always correspond to the question I was asking. Bunuel, Leone, falling asleep on a beach in Africa... I just let the man go.
Mr. Beaks: You're in the midst of editing GiALLO. When do you expect to be finished?
Dario Argento: Not before December. I think the film may be ready for the Cannes Film Festival. It's important because it's the festival where [THE PIANIST] with Adrian Brody won the Palme d'Or. Also, we have Emmanuelle Seigner, who is very important in France.
Beaks: You're hoping to be in competition?
Argento: Yes.
Beaks: That'd be incredible. Have you ever had a film in competition?
Argento: No. Two years ago, we had a big celebration of my work at the festival in the wonderful theater named after my master, Luis Bunuel. At the end, they showed a completely restored SUSPIRIA. It was a beautiful copy from the French people. I think they are the people who most love my work; they recognized it first. At the beginning, it was "good", "something"... but then SUSPIRIA exploded, and they recognized me as a [prominent] filmmaker. The same thing happened to Sergio Leone. When they do the the first three films [A FISTFUL OF DOLLARS, FOR A FEW DOLLARS MORE and THE GOOD, THE BAD AND THE UGLY], there was little [critical acclaim]. And then with ONCE UPON A TIME IN THE WEST, which I write... it just *boom* exploded!
Beaks: The French have always been so good with understanding and celebrating genre.
Argento: They understand. But it didn't just happen to Sergio Leone; it also happened to another great Italian director, Michelangelo Antonioni. In Italy, they said, "Oh, you're strange and incomprehensible!" And then the French said, "No, he's a master!" Now, everyone says he's a master. Sergio Leone, too. I worked with him and my friend Bernardo Bertolucci, and we write [ONCE UPON A TIME IN THE WEST] together. It's the only film by Sergio Leone with a leading woman. The other films were all men, but this one had a woman. I remember that, at the beginning [of shooting], Leone was very concerned with this; he said, "It's difficult to speak to women." And we said, "No, it's better with women!" But it was very good to work with a woman actor; women are much more free and open to experiment. Usually, the man says, "Oh, I want to think about it." But the character of the woman is different.
Beaks: You made your first film, THE BIRD WITH THE CRYSTAL PLUMAGE, soon after working with Leone.
Argento: Yes, I was in Africa. I had a vision sleeping on the beach, and I woke up so disturbed... I come back to Italy to write.
Beaks: Do you find that the set pieces in your films emerge fully formed from these visions or dreams?
Argento: Yes. I think because the material is like a dream. Films are dreams.
Beaks: That's what I love about your films. They're governed by a sort of dream logic. They aren't concerned with making real-world sense.
Argento: Many, many critics say to me that my films are not good because they are too unbelievable. But this is my style. I tell stories like they are dreams. This is my imagination. For me, it would be impossible to do a film that is so precise, that resembles real life.
Beaks: That's so boring.
Argento: (Laughs) Yes.
Beaks: Now, you did SUSPIRIA back in the late '70s, then INFERNO in 1980. Why wait twenty-seven years to conclude your "Three Mothers" trilogy? Were you waiting for a vision, or a nightmare, to inspire you as before?
Argento: After I make those first two films, I was too tired to do another "Mother", so I postponed. "Maybe when I have a good idea." So I do other giallo and other films that are in my style. But years later... I was by the sea in this house to write a new film. I was alone at night, and the telephone rang. I answered, and there was nobody. But then I heard this voice. It was very far away and very incomprehensible. So I put the phone down. But then I think, "My god. This voice was the voice of my father." My father is dead! Why would he call me? Maybe to give some advice or... something. I don't know. Maybe to say something to save my life. That started me thinking about MOTHER OF TEARS, with the girl having a relationship with her mother, who is dead.
Beaks: Then it made sense to cast your own daughter in the lead, and also to bring Daria Nicolodi back to co-write the screenplay.
Argento: Yes, they were both good. Asia was very good for this character.
Beaks: In terms of scale, MOTHER OF TEARS is a big movie. It's depicting a full-scale apocalypse - at least, the beginnings of it. Usually, your movies are more intimate. Why did you go so big?
Argento: We are at the moment in a very dangerous moment. There is an evil force pushing, pushing, pushing... it is like a civil war everyday. The conflict is in our cities, not just Iraq or wherever. It is in every country. Whenever we have a moment when violence is so strong, it is impossible to [maintain]. Violence is our destiny. It's normal. And everybody in every country is touched by this violence. They say even people in Switzerland are nervous. Switzerland! A country that is known for being happy and peaceful. People are nervous and fighting on the streets. I think it's very bad at the moment. So I imagine witches [for MOTHER OF TEARS]. Witches are a symbol, no?
Beaks: The witches in MOTHER OF TEARS have a youthful vitality to them. Also, they behave like spoiled, out-of-control celebrities. One reviewer aptly compared them to Lindsay Lohan and Paris Hilton.
Argento: Also, she's naked, no? She's saying, "I'm a truth. I show my body." Not because it's sexual; it's something else. You know, at the beginning, [the actress] said "I am much too naked." But then she understood. She was very good.
(Pauses)
It's wonderful for me now that I am recognized in the USA. I grew up on American cinema, and those films are some of the most important in my life. I'm so happy that my films are now recognized here.
Beaks: It's about time. When I was a kid, most of your movies were very hard to find on video. SUSPIRIA, THE BIRD WITH THE CRYSTAL PLUMAGE, DEEP RED... none of these were widely available. Mostly, I knew your movies from Fangoria and and books on the horror genre. Why do you think it took so long for audiences and critics to catch on?
Argento: There is an order. It takes a lot of time to be recognized, and it is different for everybody. It takes time for the audience to better understand your work. Look at Bunuel. He was not recognized as a master until he was very old.
Beaks: It makes sense that you're an admirer of Bunuel. A lot of what you do wouldn't be possible were it not for Bunuel slicing that eyeball.
Argento: He made so many wonderful films. So different, too. "Un chien andalou" to the last one [THAT OBSCURE OBJECT OF DESIRE], which was very good. BELLE DE JOUR, VIRIDIANA... great, great. So imaginative, no? When he did VIRIDIANA, the film was full of symbols. Everything is a symbol of another thing.
Beaks: When MOTHER OF TEARS was shown at the Toronto Film Festival, it divided audiences. Some loved it, some loathed it. How did you feel about that?
Argento: To divide the people? Jesus said, "I come not to unite the people, but to divide the people." Fathers against sons. Divide the people.
Beaks: (Laughing) But is there a moment in the film where you can feel the schism forming in the audience?
Argento: I think it is when the mother kills her [infant] son. (Laughing) "Someone is crazy, whoever create this! Too much!"
Beaks: Did you watch the film with the audience?
Argento: Yes. Some respond very good, some respond very bad. I remember the premiere. It was in Florence, and I was with my daughter. We sat for the beginning, and then we went out to eat at a place very close to the theater. After some time, people start to pass [in front of the window], and I say, "Oh, the film is finished." Then one young woman goes to the window, and points at us and screams "You bastard!!! You bastard!!! This is too much!!!" (Laughs) I was so concerned by this. I don't want the reaction so strong.
Beaks: Well, at this point in your career, people should know what they're getting into - especially if they're at your premiere!
Argento: Yes, I think so.
Beaks: You mentioned that you'd like GIALLO to play at the Cannes Film Festival. Are you looking at the film as a summation of your career thus far?
Argento: It's a moment in my career. It's a step. It's something a bit different from the giallo films in my past, but also a bit different from the horror genre. It's something in the middle.
Beaks: Adrian Brody recently said that he felt you were paying homage to your earlier films, like DEEP RED.
Argento: He is very excited. He's a great actor. Full of ideas and spirit.
Beaks: Have you ever worked with an actor who was so involved and collaborative?
Argento: I have worked with many actors, but this one is special. And this movie. (Laughing) I will surprise you.
MOTHER OF TEARS hits DVD on September 23, 2008.
Argento zaređao sa intervjuima... Ovaj za IGN nije loš, sadrži neke zanimljive delove...
Exclusive Dario Argento Interview
We discuss Mother of Tears and more with one of the fathers of modern horror.
by Todd Gilchrist
September 23, 2008 - At 68, Dario Argento is among a generation of filmmakers – including John Carpenter, Wes Craven, and George Romero - who took the foundations of horror and developed them on the silver screen like no one before. After building a reputation as one of Italy's best purveyors of crime thrillers (knows as "gialli") thanks to a series of films that includes The Bird with the Crystal Plumage, Four Flies on Grey Velvet and Deep Red, he ventured into full-fledged horror with the landmark work Suspiria. This 1977 classic features all of the hallmarks that would come to define his work, including labyrintine plots, nightmarish imagery, and scenes of violence as psychologically disturbing as they are viscerally powerful.
Subsequently, Argento has continued to work steadily in the genre he helped popularize, directing chillers like Tenebre and Phenomena while helping create other classics such as 1985's Demons, which he scripted for fellow horror luminary Lamberto Bava. And last year, Argento completed Mother of Tears, the third film in a trilogy he started three decades ago with Suspiria. In conjunction with the film's release on DVD, IGN caught up with Argento via telephone to talk about his latest effort; in addition to discussing Mother of Tears, Argento offered a few insights about his unconventional creative process, and reflected on his longtime love for the combination of storytelling, psychology, and the cinema.
IGN DVD: What was the original idea that appealed to you for Mother of Tears, and in general how do you come up with ideas for the stories that you want to tell?
Dario Argento: This film [is part of] a trilogy. The trilogy was born many years ago with Suspiria and I was inspired by the book by Thomas De Quincey, De Profundis. He speaks in the book about three terrible women, and I was inspired by this with the idea about these three persons. The first was in Germany and the second was in New York.
IGN: Did you always conceive this as a trilogy or series of films when you did Suspiria?
Argento: I remember when I finished the film, I said, "we'll do a trilogy." But before shooting, no. But when I finished the film, I understood this to be a trilogy. All of the three mothers would have their story.
IGN: In modern trilogies, audiences look at each film as one act in the same story, where the films in this trilogy are self-contained. What if anything is sort of the overall theme that connects them?
Argento: The three films are possible to see with no link. Maybe just the last one, you have some reference to Suspiria, but this film [is true] to the spirit of those films.
IGN: Because you are so identifiable as a luminary of the horror genre, how careful do you have to be with each new effort to not cannibalize what you're previously done?
Argento: I try because time changes. Shooting movies has changed, and me too – I have changed. And then, every film I do, something in my mind, my soul, changes. My natural change, I change at the same time as the films, I think.
IGN: In many of your films you use the structure of a foreigner uncovering a mystery. Why is that something that appeals to you time and again?
Argento: I think it inspires me. For Mother of Tears, I remember I was in a house on the sea, and I was alone for the night. This night I received a set of phone calls and I hear some voice say, "who is this? What do you want?" I remembered that this voice [sounded] like the voice of my father. My father died many years ago, and I asked what do you want to tell me, if you are my father? Maybe some question, I don't know what. I don't know if it was the voice of my father for sure. But that touched me very, very deeply. But then I started thinking about the film, the story this young woman, she has contact with her mother and it changes her. That's where I started.
IGN: Gore has always played an important role in your films, but you've never quite gone over the top in the style of an Umberto Lenzi or Ruggero Deodato. How do you know where the line is between creating an intense scene and one where the violence is arguably just gratuitous?
Argento: I'm Dario Argento, and my style is something recognizable I think by the audience. It's easy to understand which [ones] are my films. And I only follow my inspiration, my style. Also, the gory thing, I like the gore a lot – it's interesting. Because that extreme [violence] is something exaggerated, but something is there, but these kinds of films are inspired by the extreme, by madness – something that relates to dreams or madness. You must see the films in this perspective.
IGN: Because your films capture that dreamlike quality so well, how much preparation is required to create that? Or is it a more intuitive process when you are conceiving these sequences and on the set?
Argento: I am very organized. No no – the inspiration is when I'm writing the film, the screenplay. That's the inspiration. After this the preparation and production is very hard. This is my way to do a film.
IGN: Your camerawork has always been very subjective and very expressive. In your opinion, is your point of view as a director the same now as it was decades ago when you made Four Flies on Grey Velvet or Deep Red?
Argento: I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television – nothing. To see the camera [movements] is my style. I remember one thing I read from [Pier Paolo] Pasolini. Pasolini said one thing, that film was divided in two – the cinema of prose and the cinema of poetry. The cinema of prose, you never see the camera – never watch the camera move. But the cinema of poetry, the camera is so important for the film because it describes something and becomes like a real leader. I [subscribe to] the cinema of poetry, of course.
IGN: I read a quote recently that said that one of the virtues of genre filmmaking during the '60s and '70s was that directors had a built-in audience but could also be unique and creative. Would you say that's true and is it still true today?
Argento: Yes. I want to involve the audience in this world that's so crazy and impossible. This is the story I want to [tell] because it's not a real story, it's absolutely nightmares and dreams. The material I do comes from Dr. Freud. Dr. Freud inspired me a lot in many films, especially The Stendhal Syndrome I found [ideas] in a book by Freud. For me he's the biggest figure of the last century – a great person, marvelous. Before him, we don't know anything about our unconscious. Now we understand lots of things much more. I remember when [Alfred] Hitchcock did this film Spellbound, the dream was designed by Salvador Dali because it was something inside you, inside us. Always I go to Vienna, I go to the house of Freud to see the couch, the table because this is my hero.
IGN: Do you feel like horror films or movies in general can still operate on that level now? Horror has certainly gone in a direction that's more explicit and visceral.
Argento: I think the other films you mention today are... not deep – no dreams, something more strong, more awful without any [depth]. I'm disappointed by these new kinds of films. Sometimes we have films from Japan or Korea and these are not bad. Also, I saw recently a Spanish film, Rewind, and it's interesting. The films are interesting, but most are too commercial, and people want them because they're easy to get money fast, but this is not fruitful for the movie people [now].
IGN: Do you think that a movie like Suspiria could be made today and sit comfortably alongside the more graphic horror films currently made?
Argento: Yes. I know now I think somebody wants to remake the film Suspiria. I don't know how this film will be, but I think people are interested in this because it's different. It's easy to understand – it's different from other kinds of films, horror or thriller. The walls inside are very strong, very important to describe it. I think somebody also wants to remake Bird With the Crystal Plumage (laughs). I hear that somebody wants to do that, but this is much more difficult to remake because there's a link to Italy in the 1970s, which is a little bit difficult to do. But if somebody wants to do that, okay (laughs).
IGN: What do you think about the trend of doing remakes? Have we just run out of ideas or do you think there's something valuable in taking an older text and reimagining it for a new audience?
Argento: No, it's interesting to remake a film for the contemporary audience today. I think it's a good idea; it needs to respect the original idea. Don't just take the title and change everything else. No, you must follow the idea, otherwise why buy the rights for this film just to do another thing?
IGN: Are there films of your that have not been released on DVD that you would like to see rediscovered or reintroduced?
Argento: My films I think most of them are on DVD. Maybe the only films that is not on DVD is Four Flies on grey Velvet-
IGN: Which is one of my favorites.
Argento: There's a problem with the distributor, Paramount. After 16 years it continues, this problem.
IGN: How is production winding down on your next film Giallo, and how does it feel to return to the genre you helped create?
Argento: We are not sure if the film will have that title, Giallo. It's a title for us, so I'm sure now we will change that title.
IGN: Have you found that the resurgence in interest in grindhouse and genre films has given you a boost or more visibility with new audiences? American audiences in particular are slow to recognize and embrace foreign filmmakers.
Argento: Yes, of course because I am an Italian director and I do films in Europe and it is not so easy for me to [be recognized] in the United States. But I don't change my way of thinking for this reason. Absolutely, I follow my own style and my films.
IGN: Ultimately would you say you have as much passion for filmmaking as you always did? Do you get as excited now as you did during the days of Bird with the Crystal Plumage or Deep Red?
Argento: Yes, of course. This is my life. This is my life – I want to tell stories. There is something huge inside me that pushes me to tell stories, and tell stories for an audience and everybody. I like it – I love to do this.
" Also, I saw recently a Spanish film, Rewind, and it's interesting."
=kladio bih se da misli na REC!
:idea:
PRVI TRAILER:::
http://hannibalpictures.com/films/giallo_360.html
ili:::
http://www.youtube.com/watch?v=lK5Fn4L4QhE
naleteh na jednu seriju pa se pitam je li vredna skidanja.
Dario Argento's Door into Darkness (1973) (TV)
ima četiri epizode a Dario režira jednu pod svojim imenom i jednu pod pseudonimom.
Description:
Door into Darkness was an Italian horror television series conceived by Dario Argento. It consisted of four one-hour episodes and played on the Italian station RAI.
1. The Neighbor (original title: Il Vicino Di Casa) tells the story of couple that move into an apartment with their newborn. Unbeknownst to the couple, the neighbor upstairs has a terrible secret. This episode marked the directing debut of Argento assistant Luigi Cozzi.
http://akas.imdb.com/title/tt0245545/
2. The Tram (original title: Il Tram) is a mystery centering around the discovery of a dead woman's body in the titular location and a Detective's thought process on how she got there. Dario Argento wrote and directed this episode under the pseudonym Sirio Bernadotte.
http://akas.imdb.com/title/tt0069402/
3. Eyewitness (original title: Testimone Oculare) centers on a woman who witnesses a shooting. However, when she returns to the scene of the crime, the body is missing and the authorities do not believe her story. This episode was written by Dario Argento and Luigi Cozzi. Although Roberto Pariante is credited with the direction, Dario Argento went back and re-shot a significant portion of the episode.
http://akas.imdb.com/title/tt0069367/
4. The Doll (original title: La Bambola) revolves around a lunatic who escapes from a mental asylum and begins stalking a young women. This episode was directed by Mario Foglietti (although Luigi Cozzi did some uncredited directing on it).
http://akas.imdb.com/title/tt0186458/
Additional Information:
Extra Info:
ALSO INCLUDED ON THIS RELEASE.
- Dario Argento: Master of Horror
Vintage documentary directed by Luigi Cozzi (aka Lewis Coates) in which Argento digs deep into his obsessions, dreams and talks candidly about his work.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg244.imageshack.us%2Fimg244%2F9360%2Fimg4026.jpg&hash=c71fb08e4234e7d75972cbca2fd640e10f6bf72d) (http://img244.imageshack.us/my.php?image=img4026.jpg)
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Elsa Pataky u punom sjaju - pre nego što je ubica sa crnim rukavicama uzeo pod svoje.
QuotePLOT SUMMARY
A magazine format TV series. Each episode consisted of several segments, including: Argento explaining how he did the special effects for his films; a series of short thrillers, each about 20 minutes long going under the umbrella title of Turno di notte; and a series of very short films presented under the overall title of Gli incubi di Dario Argento.
Na internetu se pojavilo 7 trominutnih segemenata iz serijala GLI INCUBI DI DARIO ARGENTO koje je Argento režirao za potrebu emisije GIALLO.
QuoteLa Finestra sul cortile
Riti notturni
Il verme
Amare e morire
Nostalgia punk
La strega
Addormentarsi
Sammy
L'incubo di chi voleva interpretare l'incubo di Dario Argento
Na YouTube možete naći 7/9 epizoda:::
http://www.youtube.com/results?search_type=&search_query=Gli+incubi+di+Dario+Argento&aq=f
Kratke su ali su snimljne filmskom trakom i može se povući gomila paralela sa Argentovim opusom...
Na primer:::
La finestra sul cortile - preteča
Volite li Hičkoka...
La strega - paralela sa nasiljem nad decom u
Trećoj majci...
itd...
Svaku epizodu predstavlja Dario Argento dok oko njega skakuće Coralina Cataldi-Tassoni koja izgleda kao da je na nekim teškim drogama... Filmski segmenti su uglavnom bez dijaloga ali zato Argento dosta priča na italijanskom a pošto nije bilo titlova ne znam tačno o čemu - ali ne verujem da je nešto preterano mudro (i on izgleda kao da je, u najmnju ruku, pod seditivima).
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg222.imageshack.us%2Fimg222%2F8781%2Fbscap2986.jpg&hash=a2e02dc6fcb33fb00a181c612d14089b738fc2d4) (http://img222.imageshack.us/my.php?image=bscap2986.jpg)
Evo pregleda dostupnih epizoda...
1. La finestra sul cortile
Mladić gleda Hičkokov Prozor u dvorište (dabovan na italijanski), uzima dvogled i sam postaje svedok ubistva u komšiluku... Posle toga sledi psihodelija sa zmijama...
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Mnogo godina kasnije Argento je priču razradio u TV filmu Volite li Hičkoka a ovo je nesumljivo zametak.
http://www.youtube.com/watch?v=QNPn00YI42A
2. Il verme
Plavuša poznata po manjoj ulozi u Bavinim Demonima (glumi onu pankericu sa čijih grudi žiletom skupljaju rasutu drogu) čita Dilana Doga (epizoda 13: Među nama) i gricka kasnu večeru. Kada njena maca ostavi krvave tragove - cura počinje da sumnja da je zaražena... Počinje da pregleda svoje telo. Nastupa paranoja kao takva. Finale je u kupatilu, sa akcentom stavljenim na oko, crva i nož.
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(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg149.imageshack.us%2Fimg149%2F7024%2Fbscap3008.jpg&hash=97e3543a7bab4b1e521d0a61b965d6b637b48a6a) (http://img149.imageshack.us/my.php?image=bscap3008.jpg)
http://www.youtube.com/watch?v=E79ukgllldQ
a kad smo već kod argentovog blesavljenja, NOTHING TOPS THIS:
argento s BRADOM (!) u parodiji Bee Gees music videa!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg216.imageshack.us%2Fimg216%2F6529%2F23852.jpg&hash=28b28b9f76deef53056c1d355c3c8b52b29b81f4)
http://rapidshare.com/files/231490072/How_Deep_Is_Your_Love__2009_.mp4
tj http://www.youtube.com/watch?v=OVz91X4OK5U za nas koje zanima da to samo jednom u životu vidimo :)
Koliko je duboka tvoja ljubav... jedna od najvulgarnijih pesama ikada. Argento je zastrašujuć u ovoj parodiji. Misija postignuta...
3. Amare e morire
U Glorijinu kuću upada silovatelj sa peškirom (?) na glavi i počinje da je zlostavlja. Napadnuta želi da se osveti napasniku - ali kako otkriti njegov identitet? Moraće da spava sa svim osumljičenim kako bi osetila koji je bio taj koji ju je silovao... Uz ozbiljno variranje, sličan koncept je iskorišćen u Stendalovom sindromu.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg231.imageshack.us%2Fimg231%2F5366%2Fbscap3013.jpg&hash=7d3be307d1c20c7e3e3dad376bba5f518e0c4839) (http://img231.imageshack.us/my.php?image=bscap3013.jpg)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg216.imageshack.us%2Fimg216%2F5598%2Fbscap3020.jpg&hash=28915511e3df14e5718aecdf1c5cf09ad843b323) (http://img216.imageshack.us/my.php?image=bscap3020.jpg)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg218.imageshack.us%2Fimg218%2F8375%2Fbscap3012.jpg&hash=87c7c628f59decbb3690c0f7b4b01f6b2eb232de) (http://img218.imageshack.us/my.php?image=bscap3012.jpg)
http://www.youtube.com/watch?v=lZv0LrY8rOg
4. La strega
Dečji rođendan. Slavljenica je oduševljena, obasuta pažnjom i poklonima. Otac (?) poziva decu da pređu u drugu sobu kako bi se igrali igre "pogodi šta je". U sobi je mrak. Deca dodiruju predmete. A onda, kada mališani napipaju nešto što nisu očekivali, dolazi do preokreta...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg231.imageshack.us%2Fimg231%2F412%2Fbscap3022.jpg&hash=4c35c91a2bde6d6748516a857dd9567388f83f93) (http://img231.imageshack.us/my.php?image=bscap3022.jpg)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg222.imageshack.us%2Fimg222%2F8343%2Fbscap3028.jpg&hash=0a9ae51dc53122eb15ea3c034398a04acc55dc67) (http://img222.imageshack.us/my.php?image=bscap3028.jpg)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg222.imageshack.us%2Fimg222%2F2104%2Fbscap3026.jpg&hash=11c868da92dddb654d18c9312122b2f10e163c72) (http://img222.imageshack.us/my.php?image=bscap3026.jpg)
http://www.youtube.com/watch?v=8AP0qkT-Qsg
5. Addormentarsi
Lino (Pasqualino Salemme koga znnamo iz Demona 1 & 2, kao i drugih italo horora) pokušava da zaspi dok mu društvo pravi njegov mali pas. Mladić ugleda zastrašujuću senku na zidu i pre nego što stigne da reguje dobija nož u vrat. Ali, to nije kraj. Ubodenom kreće bela pena na usta i počinje transformacija. Prestrašeni psić sve posmatra...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg216.imageshack.us%2Fimg216%2F6140%2Fbscap3032.jpg&hash=29760744bd789944929080ec08f8ebe94b4619ec) (http://img216.imageshack.us/my.php?image=bscap3032.jpg)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg222.imageshack.us%2Fimg222%2F6789%2Fbscap3039.jpg&hash=12660a67f9e6c67a6642ba9238d0452cbbfd41ad) (http://img222.imageshack.us/my.php?image=bscap3039.jpg)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg222.imageshack.us%2Fimg222%2F7905%2Fbscap3043.jpg&hash=3e2b85ef020ab61cc02d9bc3627845556806a613) (http://img222.imageshack.us/my.php?image=bscap3043.jpg)
http://www.youtube.com/watch?v=WSh7YyBmJjo
Znam da je većina digla ruke or Argenta ali ja neću i, u krajnjoj liniji, ne mogu... Neka samo snima - ali pod uslovom da potpuno ne poludi (a la Fulci)... Požetel su da pristižu prve reakcije na Žutaća, xjap, za sada su, naravno, pomešane i nepotpune ali evo nekih procena...
- bezvezan scenario
- nezadovoljavajuće razrešenje
-/+ pristojna muzika
-/+ malobrojna ali dobro urađena ubistva
+ odlična gluma Eme i Edija
+ dobra režija
Variety...
ROME -- Dario Argento's new slasher pic "Giallo" has racked up sales to a slew of territories following its Cannes market preem.
Argento's English-language homage to the genre in which he built his reputation unspooled Wednesday in a packed screening at the Cannes market.
The dozen territories "Giallo" has sold to so far include Canada (E1 Entertainment), several countries in the Middle East (Eagle Films), Spain and Portugal (Wide Pictures), and Latin and South America and a large portion of Eastern Europe (New Films Intl.), said Richard Rionda Del Castro, topper of sales company Hannibal Pictures.
North American sales are being handled by Paradigm sales topper Andrew Ruf.
Toplining Adrien Brody as an eccentric Italian detective, and Emmanuelle Seigner and Elsa Pataki as sisters preyed upon by a serial killer in Turin, "Giallo" is penned by Yank scribes Sean Keller and Jim Agnew and co-produced by L.A.-based Arramis Films and Argento's own Opera Film.
"Giallo" will world premiere at the Edinburgh Film Festival in June and has been selected for Spain's Sitges Film Festival (Festival Internacional de Cinema de Catalunya) in October.
exclusivni prvi rivju sa premijere:
It's early Tuesday morning as I make my way into the press screening for Dario Argento's latest opus GIALLO - there's been a growing feeling of anticipation and even some excitement ahead of this one, sure there's been an undercurrent of dissatisfaction of his recent output from fans but surely a movie titled GIALLO by the man himself would not disappoint? I'll admit as the lights went down there was a nagging doubt, more so as I questioned just why this movie would be receiving its World Premiere in Edinburgh? Then why should it not considering several of his previous movies (Do You Like Hitchcock, Non Ho Sonno and Phantom Of The Opera) all received their UK premieres here at the Dead By Dawn Festival. Interesting to note no matter what, the press were out in force for this particular screening so fingers were crossed�
The film opens in Milan as we see a hooded taxi driver abduct a young attractive foreign girl by drugging her (syringe in the eye) in the back of his cab so he can take her back to his underground dwelling for some mutilation fun. Following another swift abduction (this time of a glamorous fashion model) we're introduced to Inspector Enzo Avolfi (played by award winning wooden actor Adrien Brody) who we find has been working solo on tracking down the aforementioned taxi serial killer though clearly with no success. In fact all Inspector Avolfi seems to be doing all the time the body count of mutilated babes continues to grow is gawp wistfully at their disfigured pictures whilst eating pizza and smoking cigarettes, so it's perhaps somewhat lucky for him (and us all) that the sister of the abducted fashion model Linda (played with believable growing levels of frustration by the talented Emmanuelle Seigner) shows up to shake the plot forward with some paint by numbers detection work.
The remainder of the film plays out as a (so called) 'race against time' as Linda and Avolfi try to find the killer before Linda's sisters body turns up. Tragically, said plot feels like it has been drafted quickly over a beer on the back of a cigarette packet and whilst laughably the press materials that went out for the screening made references to the film being a 'complex puzzle' that would only be the case if you were a one year old tackling a six piece jigsaw.
Tragically it is perhaps time that Argento retired. Sure GIALLO is not as bad as say The Card Player but it's still a deeply disappointing and frustrating movie - so much so that at points I went from wriggling frustration to downright angry at the lazy script and plot devices that made no common sense whatsoever (would you, when fleeing from a serial killer flee from ground level open air up a narrow stairwell or would you believe that after violently murdering someone in front of a policeman that they would let you go free after you 'explained' why you had done so, fuck no) but I suppose the blame for such ridiculous plot devices should lay firmly on the hands of inexperienced scripters Agnew and Keller (though why these folk are let loose on work with someone like Argento I just dont know?!)
Dario though doesn't come off lightly, anyone expecting a revisit of his early visual flair in a film called GIALLO will be sorely disappointed. Whilst at times he does move the camera (thankfully more so than the static close up frenzy of The Card Player) it's just not an inspired use at any time. In fact I'd ask any blinded Argento fanatic to be honest with themselves and try watching GIALLO as if it had not been made by Argento and ask themselves what they truly think? In honesty for me, it feels like one of those substandard throwaway 1980's giallo rip offs, not too dissimilar in feel to Luigi Cozzi's Black Cat (though with apologies to Cozzi as his earlier The Killer Must Kill Again is light years better than GIALLO). Sure there's some gore on show, with thanks as ever to the great Sergio Stivaletti, which whilst saves the film from crashing horribly brings nothing fresh or exciting to the table like Argento's earlier films (whilst graphic at times would look reasonably pedestrian in the majority of most mainstream genre movies).
The acting is broadly embarrassing, Brody as Inspector Avolfi has the presence of a wooden glove puppet (albeit one with slick hair and a cigarette hanging from its mouth) whilst lead baddie Yellow (Byron Deidra) comes across like a European jaundiced mix of ratty Arthur Coddish (Brion James) from Raimi's Crimewave and a poor man's Frank Zito (Joe Spinell) from Maniac - the problem being that watching them perform you'll just pine for greater things (such as the aforementioned Maniac or earlier Argento treats such as Tenebrae) to cleanse yourself from the middling drivel that's just unfolded onscreen. Mention should also be made of the soundtrack by Marco Werba which at times is quite interesting and reminiscent of old British B movie horror scores of the 1970's (part Bernard Hermann inspired but over used to display thrills when there's none there to behold).
As ever, I expect nothing that I've said will dissuade the legions of Argento's blinded fans from marching to the front of the queue to watch this movie (who in turn will also likely latch onto the merest glimmer of hope from what they've viewed, whether that be some gore or just the reference to the yellow giallo of lore) and yes I too will likely be there front of line at the next Argento movie release screening (waiting for the inevitable disappointment yet again) and whilst I always live in hope there's a part of me that wishes for no more. Shame.
Review by Alan Simpson
na žalost, teško da će biti iznenađen iko ko je gledao argentove POKUŠAJE pravljenja filma u poslednjih 10ak godina, a samo najzadrtiji frikovi mogu da i dalje očekuju nešto gledljivo od deda darija...
:x :cry:
Edinburgh
Giallo
(U.S.-Italy)
By LESLIE FELPERIN
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'Giallo'
'Giallo'
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A Weinstein Co. (in U.S.) release of a Hannibal Pictures (U.S.) presentation of a Giallo (Italy) production, in association with Opera Films. (International sales: Hannibal Pictures, West Hollywood.) Produced by Rafael Primorac, Richard Rionda Del Castro, Adrien Brody. Executive producers, David Milner, Luis De Val, Oscar Generale, Patricia Eberle, Martin McCourt, Lisa Lambert, Nesim Hason, Billy Dietrich, Donald A. Barton, Claudio Argento.
Directed by Dario Argento. Screenplay, Jim Agnew, Sean Keller, Argento.
With: Adrien Brody, Emmanuelle Seigner, Elsa Pataky, Robert Miano, Valentina Izumi.
(English dialogue)
After the mixed reception, even from fans, for "The Mother of Tears," Italian schlock-maestro Dario Argento shows further indifference to his reputation by releasing his latest, "Giallo," under his own name. Ludicrous, craptastically made even by Argento's usual low-budget standards, and not even remotely scary or amusingly campy -- unlike its predecessor, which at least has a so-bad-it's-great following -- this serial-killer story plays like a work for hire that no one had much fun working on. The helmer's die-hard admirers undoubtedly will show some support, especially in ancillary, but the Weinstein Co. release won't coin much B.O. gold.
Pic's title (which means "yellow" in Italian) ostensibly refers to the name assigned its serial-killer villain because of his jaundiced appearance. However, it's also a reference to the genre of thriller and horror films with which Argento is most associated, such as "The Bird With the Crystal Plumage" (1970), "Deep Red" (1975), and "Tenebre" (1982). Argento maniacs will no doubt search the pic for resonances and echoes of older, greater works. Everyone else will just wonder what this rubbish is all about.
In modern Turin, an ochre-skinned taxi driver (credited onscreen as Byron Deidra, an anagram for Adrien Brody, disguised under a ton of latex) preys on foreign women he picks up as fares and then tortures, maims and kills ("He hates beautiful things!"). His latest kidnap victim is a model, Celine (Elsa Pataky, whose screams of fury and despair must have come easy once she realized what she'd signed on for).
Celine's flight-attendant sister Linda (Emmanuelle Seigner) hooks up with obsessive, brooding (or perhaps just bored) Inspector Enzo Avolfi (Brody again) in a race against the proverbial clock to find Celine before she ends up mutilated and dead like Giallo's last victim (Valentina Izumi).
Argento and editor Roberto Silvi rely heavily on shock cuts for impact, but the only thing that's truly shocking is the script, a yellowing mound of cliches that the thesps deliver with all the enthusiasm of week-old corpses. The results are unintentionally hilarious at times, as when Avolfi explains, in a flat monotone, how he escaped prosecution for a murder by merely telling the cops that he had a good reason. "Sometimes you got to do what has to be done," he drones.
Pic experienced a reportedly troubled production history, with several cast changes (Brody replaced Ray Liotta, Seigner subbed for Argento's daughter Asia when she became pregnant). Perhaps these problems account for the hastily slapped-together feel of the whole ensemble, although Argento has fared better with worse budgets and lesser-known stars. Rough-and-ready production values have always been part of his films' charm, but this time the charm's worn off.
Camera (color), Frederic Fasano; editor, Roberto Silvi; music, Marco Werba; production designer, Davide Bassan; costume designer, Stefania Svizzeretto; sound (Dolby Digital), Roberto Sestito; supervising sound editor, Michael McDonald; sound designer, G.W. Pope III. Reviewed at Edinburgh Film Festival (Night Moves), June 25, 2009. (Also in Cannes Film Festival -- market.) Running time: 92 MIN.
đalo je blago interesantan ali ipak tužan i dosadan pokušaj da deda arđento cedi svoju suvu drenovinu.
smešan, na tužan način.
2-
Davno je bio Stendalov sindrom.
Tu je Arđento poslednji put bio autor vredan poštovanja.
Bolje mu je da se okrene produciranju i guranju mlađih kolega.
giallo je samo neznatno zanimljiviji i oku lepsi nego li CARTAIO, ali tokom celog trajanja filma stalno sam se pitao WHAT WERE THEY THINKING???!
preglupo za -dekonstrukciju-, nedovoljno smesno za parodiju, pre/apsurdno za giallo ili cak reimagining giallo-a, suvise amatersko, jadno i pedestrian za iole respektabilan tretman, a prisustvo TIH glumaca primoranih da izgovaraju TAJ dijalog i rade te gluposti samo jos vise potcrtavaju sramotnu grotesknost celog ovog promasaja.
no, priznacu> ovo je umereno-interesantan TRAIN WRECK.
nesto kao kadijin NAPADAC, recimo. da se krstish sa obe ruke dok gledas, da te bude stid zbog tog reditelja, i da zamisljas sta je sve MOGLO da se uradi s tim, umesto amaterizma koji imas pred sobom.
Odakle si skinuo film? Jedina verzija na koju sam naišao je sinhronizovana na poljski. :x
to je taj.
sta ce ti bolji?
ovo smrdi na bilo kom jeziku.
ko je nestrpljiv, film moze sasvim ok da se shvati i ovako. dijalozi i situacije su toliko rudimentarni da zaista nema sta da se bitno izgubi u translaciji.
Nije do shvatanja, gledao sam ja i "Traumu" i "La Terza Madre" na italijanskom, ali ovakva sinhronizacija gde jedan tip čita sve dijaloge jednoličnim glasom, a to sve ide preko tj. malko posle originalnog engleskog zvučnog zapisa je do te mere iritantna i ometajuća da ja to nisam u stanju da gledam. Ništa onda, sačekaću bolju kopiju. :(
Pogledao sam GIALLO - ali jedinu trenutno dostupnu verziju sa tim prokletim poljskim dubom.
Utisci?
Argenov novi triler definitivno nije povratak u formu. Naravno, daleko je i od amaterštine.
Kada pogledam verziju sa ispravnim zvukom, izneću svoj konačni sud.
Za sada, recimo da se radi o rutinkom trileru koga je mogao režirati i Srdan Golubović. (Dobro, ne baš, ali tako nekako.) Argenta ovde ima veoma malo, na kašičice, što i ne treba posebno da čudi imajući u vidu da su producanti izmontirali film po svom nahođenju, ne poštujući zahteve režisera.
Quote from: Kunac on 21-09-2009, 21:54:54Pogledao sam GIALLO - ali jedinu trenutno dostupnu verziju sa tim prokletim poljskim dubom.
Trebalo je još malčice da sačekaš, pošto se juče pojavila verzija na engleskom; skinuo sam i proverio, sve je ok.
http://www.megaupload.com/?d=5167DGGT
http://www.megaupload.com/?d=2XJQHVP2
http://www.megaupload.com/?d=FA77QDDE
http://www.megaupload.com/?d=PRI1SRAU
ima li rapida negde?
http://rapidshare.com/files/283604818/SceneLog.org__Giallo.2009.DVDRiP.XviD-DvF.part1.rar
http://rapidshare.com/files/283604984/SceneLog.org__Giallo.2009.DVDRiP.XviD-DvF.part2.rar
http://rapidshare.com/files/283602870/SceneLog.org__Giallo.2009.DVDRiP.XviD-DvF.part3.rar
http://rapidshare.com/files/283601835/SceneLog.org__Giallo.2009.DVDRiP.XviD-DvF.part4.rar
Ću da gledam ponovo.
Ovo je baš loše. Scenario je užasan. Montaža je doslovno kretenska, pošto zahvaljujući jednom rezu imamo scenu gde ubica ima flešbek na trenutak pre nego što je rođen. Sem toga, ovo je toliko nemaštovito, banalno i najgore od svega dosadno da je čak i Il Cartaio daleko gledljiviji, bar što se mene tiče. Brody glumi kao da se sve vreme smara, a konstantno govori nekim polušapatom tako da sam popizdeo regulišući ton kad odjednom onako nasumice uleti scena flešbeka ili pak scena u kojoj Elsa Pataky vrišti i vrišti i vrišti (ništa drugo ne radi u filmu!). Scena nasilja su sporadične, neosmišljene i na nivou prosečnog DTV iživljavanja. Tek na momente zaliči da je ovo režirao Arđento (ili neki njegov imitator). Recimo da su uvodni kadrovi taksija koji krstari po gradu vrebajući žrtvu obećavajući, dok još uvek ne vidimo kako ubica izgleda. Scena ubistva mesara u flešbeku je ok. Muzika nije loša (iako je preterano upotrebljena). Sve u svemu, Giallo je potpuni promašaj, a ako se Argento zaista odrekao filma ja ga potpuno razumem, mada nisam siguran da bi u njegovom final cutu ovo bio bitno bolji film, možda tek neznatno gledljiviji. 2-
a nisi mi verovao kad sam ja to govorio!
'ovo smrdi na bilo kom jeziku.'
ipak, vredelo ga je ponoviti na engleskom samo da bih slušao brodijevo savršeno imbecilno kreveljenje: BJUUUUUTIFUL!!!
deal with it: argento je odavno ušao u svoju senilnu fazu dementnog fulčija: ne postoji taj CUT, ta verzija od ovog materijala, sa ovakvom glumom, sa ovim imbecilnim dijalozima, sa ovim kreveljenjem, koja bi mogla da vam da vaše 'kašičice' argenta.
ovo je kao da su 2 zombi milana uzela da rade 'omaž' argentu nakon što su se prethodno već zahvalili svojim pravim duhovnim ocima, mateiju i fragasu.
Quote from: Ghoul on 25-09-2009, 10:16:18ipak, vredelo ga je ponoviti na engleskom samo da bih slušao brodijevo savršeno imbecilno kreveljenje: BJUUUUUTIFUL!!!
Ta Brodijeva dvostruka uloga je stvarno priča za sebe, na nivou koncepta to zvuči kao sjajna ideja, ali uz ovakvu realizaciju (dijaloz i gluma) Brodiju je sad verovatno žao što nije izabrao neki manje očigledan pseudonim...
Quote from: Ghoul on 25-09-2009, 10:16:18deal with it: argento je odavno ušao u svoju senilnu fazu dementnog fulčija: ne postoji taj CUT, ta verzija od ovog materijala, sa ovakvom glumom, sa ovim imbecilnim dijalozima, sa ovim kreveljenjem, koja bi mogla da vam da vaše 'kašičice' argenta.
Od svih šest horor mastera Argento je možda i najviše otišao u aut, a možda bi i Romero mogao da mu se pridruži ako je Survival zaista još lošiji od Diarija. Pitanje je da li je i Carpenter zreo za penziju, što ćemo saznati ako se napokon smiluje da snimi nešto. Cronenberg je, pak, postao mejnstrim i batalio žanr na neodređeno, dok je Hooper i dalje zaglavljen u mulju jeftinih horora koji idu odmah na DVD. Craven daje neke znake života od sebe, ali sačekajmo prvo 25/8.
Zapravo, svi majstori horora su potonuli ispod povrsine - s tim da se Cronenberg & Craven jos uvek drze u A produkciji mada se prvi odrekao zanra a drugi pokusao isto.
Sto se Carpentera tice, pitanje je da li covek jos uvek moze da ustane iz kreveta - a kamoli da snimi film. Pauze koje pravi su ogromne.
Romero snima sta moze, a to su zombiji. I on je pravio ogromne pauze, Zemlja je mogla mu bude dostojanstveni oprostaj. Ali, eto, GAR nastavlja da jase...
Hooper je potpuno skliznuo u opskurnost.
A sto se Argenta tice, on jedini od njih sestorice drzi neki zanrovski kontinuitet. Snima film na svake 2-3 godine, pa i cesce, to teba ceniti. Istina, daleko je to od nekadasnjih staza slave ali je i daleko od Fulcijevih uzasnih filmova pred kraj karijere.
Zato se Milose ne slazem sa tobom da je Argento pao na najnize grane od njih sestorice. Naprotiv. Meni je zbog istrajnosti i raznolikosti poznog opusa pri samom vrhu liste. Ako ne i na prvom mestu.
...ja sam se strpeo, te sam, premda sam i to skunuo, eskivirao poljske čitače i danas odgledao novi Argentov uradak, uz svo poštovanje za minuli rad i zahuktalu krštenicu, ovakav GIALLO me je raočarao... sve i da je cilj bio napraviti para/meta-film unutar podžanra, ovo jeste promašaj - hrpa nezanimljivo ivedenih opštih mesta i strmoglav koji otpočne obećavajućim jarkocrvenim settingom u operi, a završi sa prizorima Brodyja koji se krevelji maskiran u Ziju Valentina (ili pevača grupe Jugosloveni) sa obolelom jetrom....međuprostor popuni bledunjava i nezanimljiva misterija koja bi, tako mi se barem čini, ubedljivije i maštiovitije izgledala u izvođenju nekog od brojnih, daleko manje talentovanih Argentovih epigona...da ne bude zabune, film je, iako loš, ipak gledljiv što bi, ako ne grešim, ipak pre bila uvreda no kompliment ili uteha za nejkada velikog majstora...
Gillo>>> 4/10.
moja anti-GIALLO tirada: ne preporučuje se trudnicama, deci, srčanim bolesnicima, te neizlečivim i nekritičkim fanovima 'maestra':
http://ljudska_splacina.com/2009/09/giallo-2009.html (http://ljudska_splacina.com/2009/09/giallo-2009.html)
Nego, jel neko pronashao Do You Like Hitchcock? I, vredi li to uopshte?
Evo, ja otkrih da postoji ovaj: Do.You.Like.Hitchcock.2005.DVDRip.XviD-VoMiT - al' ne i gde mozhe da se skine.
kako to misliš?
odavno je pronađen, odgledan, zgnušan i zaboravljen.
mislim na to da sam ga svojevremeno propustio, a sad ne mogu da nadjem link kojim ga mogu skinuti.
mani se toga i bolje repriziraj PROFONDO ROSSO još jednom.
Ako si baš rešio da ga pogledaš, imaš na surrealmoviez (http://www.surrealmoviez.info/readarticle.php?article_id=2174).
Vala, kako sam se sinoc podvrgao Four Flies on Gray Velvet, mislim da ce Profondo Rosso terapija biti neminovna.
Ali, evo, da unakazim i tih par ljudi koji eventualno DYLH nisu pogledali
http://rapidshare.com/files/53914127/dylkhtchcck.part1.rar
http://rapidshare.com/files/53917099/dylkhtchcck.part2.rar
http://rapidshare.com/files/53919958/dylkhtchcck.part3.rar
http://rapidshare.com/files/53922451/dylkhtchcck.part4.rar
http://rapidshare.com/files/53924837/dylkhtchcck.part5.rar
http://rapidshare.com/files/53927083/dylkhtchcck.part6.rar
http://rapidshare.com/files/53927901/dylkhtchcck.part7.rar
Password:
mikeysmovies
Pre nekog vremena pogledao sam Argentov GIALLO. Ipak, uzdržao sam se od toga da pišem odmah o tom filmu kako se cela priča ne bi svela na paušalno konstatovanje da je reč o groznom filmu. Ipak, velikan kao što je Dario nije zalužio da se bude tako površan prema njemu čak i kad je posrnuo.
Jedna od osnovnih stvari vezanih za recepciju Argentovog rada je to da su njegovi filmovi zahtevali strpljenje i da je prošao dosta osporavanja dok nije došao do svog današnjeg statusa jednog nesporno uvaženog filmmejkera internacionalonog renomea.
U tom smislu, interesantno je kako su oni koji su ima pažnje i sluha za Argenta tako lako digli ruke od njega kad su počeli da se ređaju IL CARTAIO, GIALLO i sl.
Upravo je GIALLO u tom smislu interesantan jer on zaista izgleda kao nešto što su opisivali kritičari koji nisu razumeli njegove klaske. Gotovo da se savršeno uklapa u posprdne ili oštre komentare na koje su nailiazili PROFONDO ROSSO ili OPERA.
U tom smislu, intresantno je da Argento što je ugledniji i priznatiji, praktično snima sve banalnije i petparačkije filmove, kao da je namerno sebe pokušao da sve na nivo karikature kakvom su ga neki predstavljali u vreme dok je još bio genije.
Ako tome dodamo da se sa TERZA MADRE i GIALLO, Argento zapravo posrao na sve ono što se smatralo transgresivnim, oniričkum, autentično iracionalnim, vrednim u dve struje svog stvaralaštva i na neki način sugeriosao da ako u tome nema smisla sad kad je najzreliji, zašto bi bilo više smisla u fazi kada je bio početnik.
I zaista, čini se da što je više teorije ispisano o Argentu, njegov rad postaje sve gluplji i površniji.
Tome se svakako ne može naći opravdanje u krivici producenata. Oni danas upravo vape za onim što je Argento nekada bio a to je kvalitetan Euro-flavored horor kojim če njegova fanbaza i eventualni festivali biti zadovoljni.
Sam GIALLO je navodno bio optrećen mešanjem producenata ali sam kvalitet materijala, glume, šminke, kostima, sugeriše javašluk na najbazičnijem nivou i loša rešenja u aspektima gde se producenti sigurno nisu mešali.
Otpisati Argentova recentna saplitanja kao puku senilnost mislim da je easy way out jer niti je ijedan od tih filmova imao prizvuk tezge niti danas postoji tržište koja zanimaju italijanski hackovi. Danas, što se Evrope tiče nesumnjivo najbolje prolaze dobri i provokativni naslovi i očigledno je prošlo vreme Jessa Franca i Lucio Fulcija.
Po nekim patternima stranputica reditelja-veterana do krize dolazi ili usled nerazumevanja okoline za starog majstora (što u Argentovom slučaju sudeći po imenima koja attachuje, frekvenciji rada i priznanju svakako nije slučaj) ili zbog grčevitog pokušđaja da porbaju nešto novo, da se pokažu na neki drugi način (što se za Argenta na prvi pogld ne bi moglo reći) ili pak zbog potonuća u vlastiti manirizam.
Potonuće u manirizam bi se eventualno moglo aplicirati na Argento kada je reč o izboru tema ali svakako ne i kada je reč o egzekuciji.
Upravo taj odnos forme i sadržaja koji je bio osnov Argentovih ranih uspeha, sada je potpuno poremećen i njegovo vladanje formom u recentnim radovima je gotovo nepostojeće. Sasvim je sigurno i sam Argento svestan koliko su njegovi set-pieceovi bili ključni za uspeh i suštinski, manirizam bi se ponajpre u njegovom slučaju mogao manifstovati u forsiranju set-pieceova suprotno zahtevima priče.
Međutim, ne, Argentov skorašnji opus se u odnosu na rani upravo razlikuje po miljeu, temama i zapletima i to je vrlo neobično.
Isto tako, interesantno je da po prvi put u karijeri u tri poseldnja filma, HITCHCOCK, TERZA MADRE i GIALLOu daje vrlo jasne refrenece već u naslovu koji se odnose na uzor, žanr ili tačke iz vlastitog opusa.
Reklo bi se dakle da su ovi poslednji naslovi na neki način Argentov rad koji se hrani samim sobom, međutim, postavlja se pitanje svrhe & namere tih filmova.
Po prenaglašenosti motiva kojima se bavi, dizajnu likova i sl. GIALLO najviše liči na parodiju. Količina klišea na nivou zapleta i karaktera i neke deonice koje odišu potpunom anahronošću navode na pomisao da je reč o direktnoj parodiji. Otud ovom filmu nedostaju svi oni touchevi koji je Argentov "uzdizao" i "izdvajao" svoje kanonske filmove.
Gluma Adrien Brodyja i Emmanuelle Seigner doprinosi utisku parodije. Brody kao da kanališe neku Italo trashy verziju Al Pacina iz HEAT. Kad smo već kod Pacina, njegov trag nas dovodi do naslova koji kanališe sličnu vrstu naivnog manipulisanja klišeima a to je CRUISING William Friedkina.
GIALLO međutim nije dovoljno dobra parodija a njegovi groteskni elementi nisu dovoljno interesantni da bi se mogao percipirati kao subkulturni artefakt tipa CRUISING.
Sve ove petpostavke dovode do hipoteze da Argento to sve radi namerno, to jest da možda ne snima loše filmove namerno, već da namerno pokušava da parodira žanr u čemu nije naročito vešt.
I tu se uviđa pattern oji ga dovodi u vezu sa još jednim posrnulim majstorom a to je Cronenberg. Naime, po Cronenbergovom recentnom opusu oličenom u HISTORY OF VIOLENCE i EASTERN PROMISES, on beži od svog kanonskog opusa vezanog za horor u nešto gde se zapravo rediteljski ne snalazi.
Rekao bih da Argento takođe želi da pobegne iz horora ali da pošto ne može da nađe finansijere za bilo šta drugo, jer nema Cronenbergov praktični festivalski ugled (Croneberg je učesnik i pobednik a Argento je ipak tek na nivou retrospektiva prisutan na festivalima) onda on beži od horora urađenog na svoj način tako što ga obesmišljava.
Nažalost, ti pokušaji unapređivanja na kraju završavaju kao unazađivanje a Argento se kako već rekoh srozava na sve ono loše što su učitavali oni koji nisu imali strpljenja da ga razumeju.
bla bla truć.
sad ispade da oni kojima se giallo nije dopao i koji su ga proglasili sramotno neukim i nekompetentnim i degradirajućim - oni su bili prebrzi, i nisu imali razumevanja.
a onda je došo dimbo, i pronikao u dubinu, i ispoštovao deda arđenta, i na kraju toga - zaključio, šta tačno?
da su noviji arđentovi filmovi ovoliko evidentno loši ne zato što su loši nego zato što deda oće da parodira ono što je celog života radio.
kao, producenti mu neće dati pare za film ako ovaj nije horor, pa sad arđento namerno (?) pravi nekompetentne, bedaste, tragikomične propasti do kvazi-horora?
negde duboko u arđentu čuči MUZIKA SRCA, al mu niko ne da pare za takvo što, pa zato snima bedastoće tipa IL CARTAIO i GIALLO.
a jedino dimbo začuo note te MUZIKE SRCA - taj pritajeni krik između redova, između kadrova novijeg arđenta - koji su nama ostalima, brzopletima, promakli.
aha, dobro.
Čemu takav gnev? Kakva bi korist bila da sam i ja napisao isto što i ti? Moguće je da sam ja malo "premislio", ali zar stari Dario nije zaslužio malo pažnje i pokušaja razumevanja?
Mislim, znamo Ghoule da si ti majstor za konstatovanje očiglednog, ali pojedini filmovi su pravljeni za ljude koji imaju mašte.
Ne sporim ja da je GIALLO loš film ali pokušavam da proniknem zašto je to tako, kao što sam imao strpljenje da proniknem zašto su oni koji su bili dobri bili tako efektni.
Recimo i Aca Radivojević ne otpisuje GIALLO kao nešto o čemu ne treba misliti i ima teoriju da sada Argentu više odgovara američki setting a u prilog tome daje MASTERS OF HORROR u kome su Argentove epizode bile bolje od njegovih recentnih evropskih radova.
Nadam se da ćeš barem Acinu teoriju uzeti u ozbiljno razmatranje.
Quote from: crippled_avenger on 26-10-2009, 17:14:37
GIALLO međutim nije dovoljno dobra parodija a njegovi groteskni elementi nisu dovoljno interesantni da bi se mogao percipirati kao subkulturni artefakt tipa CRUISING.
Sve ove petpostavke dovode do hipoteze da Argento to sve radi namerno, to jest da možda ne snima loše filmove namerno, već da namerno pokušava da parodira žanr u čemu nije naročito vešt.
I tu se uviđa pattern oji ga dovodi u vezu sa još jednim posrnulim majstorom a to je Cronenberg. Naime, po Cronenbergovom recentnom opusu oličenom u HISTORY OF VIOLENCE i EASTERN PROMISES, on beži od svog kanonskog opusa vezanog za horor u nešto gde se zapravo rediteljski ne snalazi.
Rekao bih da Argento takođe želi da pobegne iz horora ali da pošto ne može da nađe finansijere za bilo šta drugo, jer nema Cronenbergov praktični festivalski ugled (Croneberg je učesnik i pobednik a Argento je ipak tek na nivou retrospektiva prisutan na festivalima) onda on beži od horora urađenog na svoj način tako što ga obesmišljava.
Mislim da sam ovde dosta jasno izneo pravac razmišljanja, dakle, po meni Dario ne snima namerno loše filmove već namerno pokušava da snima nešto drugo, a to drugo ne ume da snimi kao što ni Cronenberg NE UME da snimi filmove poput HISTORY OF VIOLENCE ili EASTERN PROMISES iako su oba u teoriji legitimni projekti za nekog drugog reditelja, tipa Matthew Vaughna ili Jonathana Glazera ili nekog drugog.
Isto važi za Argenta, u GIALLOu se recimo vidi potentan film za Landisa ili Dantea, ali on očigledno ne ume da postigne to što oni umeju.
nema gneva.
samo mislim da je tvoje 'promišljanje' ĐALA sasvim van poente.
šta god da je MOTIVACIJA deda darija nikako ne može da opravda EVIDENTNO LOŠE filmove koje pravi.
stoga, sve i da 100% prihvatim tvoju teoriju o tome šta je dario hteo, to još uvek GIALLO neće učiniti ama ni za trunčicu boljim, zanimljivijim, manje smešnim i sramotnim filmom.
acine teorije sam vrlo dobro svestan, i donekle se slažem s njom, ali je ne prihvatam s tolikim nepodeljenim entuzijazmom. evidentno je da je dario svoje najmanje negledljive i najmanje sramotne produkte u poslednje vreme uradio u AMERICI.
u serijalu koji se zove MASTERS OF *HORROR*.
ne masters of ART, ne masters of DRAMA, ili ne znam šta - čime se zapravo obara tvoja teorija o tome da je dario gladan iskoraka iz horora.
nije.
on je samo izgubio kompas.
inače, ĐALO sam premijerno gledao zajedno sa acom, i na licu mesta, odmah posle filma, ispoljio neslaganje s njegovim -za mene iracionalnim - odbijanjem da se pomiri s tim da je ovo ĆORAK i insistiranjem da to 'nije bez ništa'.
Pa da, ali zašto je izgubio kompas? Da li zato što američki producenti konkretnije znaju da zahtevaju šta Dario treba da snimi, ne samo na nivou teme već i stila, a u Evropi ima suvišnu slobodu koja čini da pođe stranputicom?
http://www.popboks.com/tekst.php?ID=7869 (http://www.popboks.com/tekst.php?ID=7869)
A evo chime se Ardjento vraca:
"Dario Argento Digs Up Dracula
He'll vamp out in - surprise! - 3D."
http://www.empireonline.com/news/feed.asp?NID=27877 (http://www.empireonline.com/news/feed.asp?NID=27877)
Joj, Dario, pa kud tako da se vraćaš u život... :(
Evo novog, krajnje funky, preokreta...
Bizarre News From Cannes: Romero Remaking Argento's 'Deep Red' in 3-D
Oh the surprises of Cannes -- and this one is a doozy. Get ready for Deep Red in 3D -- not by Dario Argento but from zombie icon George A. Romero. Word has it that Romero is in advanced negotiations to helm a remake in English of Argento's cult classic. The 1975 masterpiece Deep Red, about a string of supernatural splatter murders, is considered Argento's gem giallo and the film that established his international standing. Claudio Argento, who is Dario's brother and regular producer, has penned the screenplay for Romero's redo. Plan is to start shooting this fall in Canada.
WTF? Ovo nisam očekivao... :)
Što se Arđentovog Drakule 3D tiče, Alan Jones je twitovao o tome: Just announced (13/05/10), Dario Argento's DRACULA in 3D, filming in Italy January, period setting.
U međuvremenu, Arđento je, navodno, izjavio info o Drakuli nije tačan.